
EARLY & MODERN 


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WARREN’S LIBRARY TEXT 



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better Paper * Better Printing 


WARREN’S 

LIBRARY TEXT 



With Examples 
of Early and Ehtodern 
Type Faces 


BOSTON 

S. D. WARREN COMPANY 
1920 




Z2 So 


M Ethymnefibus aurcm pcrutile fore afferuilli fi ligneum 5>ionyfi 
caput coleret.'colunt enim cerce methymnefes ligneum IDionyfi caput 
tibi hortiti pcrfuafiralii uero lapidcis:alii xneis:nonulli aurcts:multi 
argentcis fimulacns facnficant.Tnginta deoru milia in terra elTe cef3C 
|-lefiodus.^go autem multo plurcs lapideos atqueligneos hominum 
crcatorcs ac dnos efTc uideo.$ed tibi o Apollo mirabile uifum c quod 
Iigncu humani capitis fimulacru dum iadum traheret methymnefes 
cxtraxcrunncolendumque lllud diuinis honoribus efle refpondifti.<D 
rcmirabilem ex profundo mans ita repente renbus annexum Pionyfi 
caput profiluit. Mxc $)enomaus . 



^NC In hoc fexto euagelice prxpa ratio is uolumfe 
falfitate oraculoru a falfa de fans opione ,pfluxifl*e: 
ncque aliunde q cxleftium motu corporum diulna' 
tionem illoty coiedura colledam fuifte oftedemus. 


A lDfit ergo rurfus magnus apud getes Porphyriustqui in libro de 
oraculis maifefte hoc his uerbis aperit.<J^uxcuq; l'quitdii fatata 
prxdicut ftellamm motu ita futura fignificant:quod omnes & maxfe 
Apollo multts refpofis aperuit.<$h.tom cnim ab eo quxrcrctur mareni 
no an facfmna in utcro habens mulicr parerct:focminam refpdditndqj 
aconccpnonis tpre pcrcepifiedeclarat dicens:no fpatomarem phoebe 
quum arares cypnx radits tencbatur.J^egrotarioes etiam ftellaiy curfu 
prxdicab.it. I'lalis enim pulraonem agitan humonbus refpodit:quia 
falebns Satnus premereriSi i alio refponfo:fatatus tibi ad eft dies que 
$aturnus mauorfq; fimul ftatuerunt.fths abude mtelledu puto non 
diutnaquadam uirtute:fed cxleftium motus pbferuanone acratione 
mathematic* getium deos futura cognouiftc.ttta nihil diuimus <| ho' 
mines afferebant. 


■ ■ Vare modo attente confiderarq> non folum exteriora:& qux in 

poteftate nra non funtMiewm etiam uoluntates hofum faratas 
/aibitrabant'.$ic efm ipfe Apollo quum demilitequodam iterrogarus 

■ effet quare t.i ptculofx rei ftuderetrefpondit dicens.|4ars eu genethli' 
i acus condtat:adco autem generofi quidciyi ilh dh fawm exwlerut ur 


Facsimile reproduction (reduced), of a page of “Eusebius,” printed by Nicolas Jenson, Venice, 
1470, showing the first Roman types cast. Size of type in the original a small 18 point. 


Gift 

Publisher 
APS! ? !S2Q 







WARREN’S LIBRARY TEXT 


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HEN one thinks of a library as “the treasure house 
of the world,” a new significance may appear in 
the title, LIBRARY TEXT. This name implies 
a paper which has admirable qualities for legibil¬ 
ity in type and a suitable surface for such kinds of 
technical and reference illustrations as may be used in works on 
the sciences, industries and for school books. This is a distinct 
field for Warren’s Library Text. It is not a coated paper, but 
its surface has been developed through certain finishing processes 
to the point where well prepared illustrations can be printed 
upon it to advantage in large editions. 

Warren’s Library Text folds well and has the necessary strength 
required in standard works. It may also be secured in lighter 
weights than coated papers, and is being used to an increasing 
extent in catalogue making. It is not intended for vignetted and 
brilliant illustrations, but those of certain lines of merchandise 
and manufactured products can be printed upon Warren’s Li¬ 
brary Text with a distinct saving in weight. An instance of this 
is in a recent edition of a large catalogue issued by the Murphy 
Chair Company, Cleveland. There are advantages in the use of 
Warren’s Library Text for music sheets in which decorative titles, 
the music score and the text can all be presented with due 
merits. 

Warren’s Library Text, one of Warren’s Standard Printing 
Papers, is used for many forms of direct advertising. Illustrated 
price lists, follow-up folders and broadsides are being produced 
in large edition work on Warren’s Library Text, so that while 
the name, Library Text, suggests its principal field, it still offers 
many opportunities as an all-round paper. 



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From the original painting by Kyte, shown in the specimen book of 
H. W. Caslon & Co., London. 


“This new Foundery was begun in the year 1720, and finished 1763; and will (with God’s leave) 
be carried on, improved and inlarged, by William Caslon and Son, Letter Founders in London.” 

William Caslon began engraving punches in the year 1716. 


CASLON I 


Among those whose names are indelibly written into the history of the Arts of 
Printing and Type Founding during the last hundred and ninety years, few did more 
to advance those arts than William Caslon of London, who, through his skill as a 
punch-cutter and type-founder, gave to the world a face of type the use of which 
has covered nearly two centuries, and the popularity of which increases rather than 
diminishes with the years; and which, for beauty of form, readability and dignity, 
as well as effectiveness as a display letter, when rightly used, has rarely been sur¬ 
passed. 


WALTER GlLLISS 


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EARLY AND MODERN TYPE FACES 


HE step from block printing to movable type marked the 
greatest single advance in the civilization of the world. 
Printing has meant even more than the inscription over 
Coster’s doorway: “The art preservative of arts.” It has been 
a world power in the dissemination of knowledge through 
books, in quickening the human pulse by the news and great 
events through the press and as the universal point of contact in industrial, 
commercial and social life. 

The earliest types were in black letter, in imitation of manuscript. Then 
followed the development of Roman types under Latin and Anglo-Saxon influ¬ 
ences. Some of the noblest of Roman lettering was inscriptions on triumphal 
arches and classic buildings and in type forms in the Jenson and Elzevir faces. 
To Aldus, we owe the introduction of what was known then as cursive and 
now as italic types. 

Most prominent among the Anglo-Saxon types has been the general classifi¬ 
cation of modern, based on the thick and thin elements with pointed serifs. 
One of the most important examples of book types is of English origin, Caslon 
Oldstyle. 

There must always be a definite adjustment between the types and papers 
upon which they are to be used. Roman and light faced types look thin and 
wiry on coated papers, while nearly all modern display faces print well on 
highly finished papers. Under the present day tendency toward formality in 
typography, bookish types are more commonly used as a part of the revival in 
the appreciation of antique book papers. 

In previous generations, many fine volumes were issued upon the invention 
and history of printing, but in recent years there have been but few comprehen¬ 
sive works. The student of printing and those who wish to acquire ability in 
modern typography must turn to early work as the model for format and for 
the best uses in accessory features of design and display. 

In connection with the commemoration of the Franklin 200th Anniversary, 
the Boston Public Library issued a reference list of books on the history and 
art of printing. Hereafter, the student of printing may find in this reference 
list a guide to important volumes containing a comprehensive grouping from 
which an intelligent basis can be obtained. 

In the accompanying pages are examples of a few standard types with ex¬ 
planatory titles about their origin and present day use. 




A SPECIMEN 

By WILLIAM CASLON, Letter-Founder, in Chifwell-Street, LONDON. 


ABCD 

ABCDE 

ABCDEFG 

ABCDEFGHI 

ABCDEFGHIJK 

ABCDEFGHI JKL 
ABCDEFGHIKLMN 

French Cannon. 

Quoufque tan¬ 
dem abutere, 
Catilina, pati- 

Quoufque tandem 


Double Pica Roman. 
Quoulque tandem abutere, Cati¬ 
lina, patientia noftra ? quamdiu 
nos etiam furor ifte tuus eludet ? 
quem ad finem fefe effrenata jac- 
ABCDEFGH JIKLMNOP 

Great Primer Roman. 
Quoufque tandem abutere, Catilina, pa¬ 
tientia noftra ? quamdiu nos etiam fu¬ 
ror ifte tuus eludet ? quem ad finem fe¬ 
fe effrenata jadlabit audacia ? nihilne te 
nodumum pnefidium palatii, nihil ur- 
bis vigiliae, nihil timor populi, nihil con- 
ABCDEFGHIJKLMN OPQRS 

English Roman. 

Quoufque tandem abutere, Catilina, patientia 
noftra? quamdiu nos etiam furor ifte tuus eludet? 
quem ad finem fele effrenata jadlabit audacia ? 
nihilne te no£himum praefidium palatii, nihil 
urbis vigiliae, nihil timor populi, nihil confen- 
fus bonorum omnium, ninil hie munitiftimus 
ABCDEFGHI JKLMNOPQRST VUW 

Pica Rom an. 

Melium, novis rebus ftudentem, manu fua occtdir. 
Fuit, fuit ifta quondam in hac repub. virtus, ut viri 
fortes acrioribus fuppliciis civem perniciofum, quam 
acerbiflimum hoftem coercerenr. Habemus eniin fe- 
natufconfultum in te, Catilina, vehemens, 6c grave: 
non deeft reip. confilium, neque autoritas hujus Or¬ 
el in is : nos, nos, dico aperte, confulcs defumus. Dc- 

abcdefghijklMnopqrstvuwx 


Double Pica Italick . 
Quoufque tandem abutere , Cat Hi¬ 
na, patientia noftra ? quamdiu 
nos etiam furor ifte tuus eludet ? 
quem ad finem fefe effrenata jac- 
AB CD E FGHJIKL MNO 

Great Primer Italick. 
Quoufque tandem abutere , Catilina , pa¬ 
tientia noftra ? quamdiu nos etiam fu¬ 
ror ifte tuus eludet ? quem ad finem fefe 
effrenata ja&abit audacia t nihilne te 
noflurnum preefidium palatii , nihil ur¬ 
bis vigilice , nihil timor populi , nihil con - 
AB CD E FGHIJKL MNO P QR 

Englijh Italick . 

Quoufque tandem abutere, Catilina, patientia nof¬ 
tra f quamdiu nos etiam furor ifte tuus eludet? 
quem ad finem fefe effrenata jaflabit audacia ? 
nihilne te noHumum preefidium palatii, nihil ur¬ 
bis vigiliee, nihil timor populi, nihil confenfus bo¬ 
norum omnium , nihil hie munitiftimus babendi fe- 

ABCDEFGHIJ KLMNOPQRSlVU 
Pica Italick. 

Melium , novis rebus ftudentem, manu fua occidit. 
Fuit, fuit ifta quondam in bac repub. virtus, ut viri 
fortes acrioribus fuppliciis civem perniciofum, quam-a- 
cerbiftimum hoftem coercerent. Habemus enim fenaluf- 
confultum in te, Catilina , vehemens , id grave: non deeft 
reip. confilium , neque autoritas bujus ordinis: nos , nos, 
dico aperte, confutes defumus. Decrevit quondam fenalus 
ABCD E FGHIJKL MNOPQR S TVUIVXIZ 


Ipica TSlacfe. 

9nD be it Curtfiet cnaftco bp tbe flutfjojitp 
afojcfaiD, (Ebat all anD etierp of tbc feiD €r s 
ebequet 'Billa to be maoe foftb bp toirtuc of 
rbi0 3ft, o? fo manp of tbem ao (ball from 
a TB € D <£ jr® u> 31R tty J3flDIP£URfcC 

Brevier Blick. 

9n® be it Garter eruSrb hr rte aiirtojitp tfoirfart, tTbw all mb toery 
of rtf (Mb Cfrtcqufr 3ilta to br iruiDf tofrt by Wrtur of rtu «!«*. o> (o 
manp of rt«n ao (bull from rime to time remain unbiftbatfleb one uruan* 
relleb. umil rtf bifctMramo anb cancflimo rte famr purfuam to dd, 

Pica Gothick. 

Atta mnsak <jm in IuminAm veihuAi 
nAm« «J»6in uimai 4»inaiNASsns 4»6 ins 
VAHWAi V*A9A <J>eiNS SV6 in hiMWA 

Pica Coptick. 

JbeH OTApxk gajulo rrr4>e rtejut. n*- 

a&i*- niKA^i ne oTA.etu.ir epoq ne oto£, 
fuLXco&'f" ni.qx K $no?tt oro£, 

otiuu. riT€(t»t n^quHon £,G£en nmtooT o- 


Pica Armenian. 

tfrmqMiump k rkrb' #»/»«/ uA.lt 

L. ufuju.tftp L. 4 . 

b u k psujuu,' L. u i u.uius^„c.X *fs qbp J,uA. 

L Jtnu.j gUo/fomtipFt mppuaf bpjfif 

Englilh Syriick. 

v *uoi_io ? v io \o ? Lr*— 

xpoot-j j()) -I JU 

Pica Samarian. 

2*3 /rtaA ax** a/maw*a»*» 

-m^Aa lax ssnrawa A»*Aa rrrwrrr 

11 l/x Tsitnra ast 


Small Pica Roman. Noi. 

At nos vigefimum jam diem palimur licbefcerc aciem horum 
autoritatis. habemus enim hujufmodi fcnatufconfulrum, vc- 
rumlamcn inclufum in tabulis, tanquam gladium in vagina 
reconditum: quo ex fenaiuiconfulto confeftim interfc£tum te 
effe, Catilina, convenit. Vivis: 6c vivis non ad deponen- 
dam H fed ad confirmandam audaciam. Cupio, P. C., me 
effe clementera : cupio in tantis reipub. periculis non dif- 
ABCDEFGHIJKLMNOP Q.R STVUWXYZ 

Small Pica Roman. No a. 

At nos vigefimum jam diem patimur hebefeere acicm horum 
autoriotb. habemus enim hujufmodi fenatufeonfuitum, ve- 
rumtamen inclufum in tabulis, tanquam gladium in vagina 
reconditum: quo ex fcnatufconfulto confeftim interfe&um te 
effe, Catilina, conveniL Vivis: 6t vivis non ad depoaendam, 
fed ad confirmandam audaciam. Cupio, P. C., me effe 
clementem : cupio in Untis reipub. periculis non diflolutum 

ABCDEFG HIJKLMNOPQRSTVUWXYZ 

Lohc Piiuck Roman Noi 
V emm ego hoc, quod jampridem fadum effe oportuit. certa de 
caulfa nondum adducor ut fitciam. turn denique interheiam tc, cum 
jam nemo am improbut, am perdituj, am tui fimilu inveniri po¬ 
tent, qui id non jure fadum effe fateatur. Quamdiu quifquam erit 
qui te defendcrc audeat, vives: & vives, iu ut nunc vivis, multb 
tneis Sc firm is prxfidiis obfeflus, nc commovere te contra rempub. 
polTi:. muftorum te etiam oculi & aures non fentientem, ficut ad hue 
fecerunt, fpeculabuntur, aique cuftodient- Eccnim quid eft, Cali- 

ABCDEFGHI JKLMNOPQRSTUVWXYZaE 

Lose Primer Roman. Nos. 

Venun ego hoc, quod jampridem fadum effe oportuit, certa de 
caurfa nondum adducor ut faciam- turn denique interficum tc, cum 
jam nemo am improbus, am perditus, am tui funilu inveniri pote¬ 
nt, qui id non jure fadum effe fateatur. Quamdiu quifquam erit 
qui tc defendere audeat, vives: Sc vives, ita ut nunc vivis, multu 
men Sc fimus prxfidiis obfeflus, ne commovere te contra rempub. 
poflu. muhorum te etiam oculi Sc aures non fentientem, ficut adhuc 
fecerunt, fpeculabuntur, atque cuftodient. Etenim quid cit, Catili- 
ABCDEFGHIJ KLMNOP Q.R STVUWXYZdE 


Small Pica Italic i. No i. 

At nos vigefimum jam diem patimur hebefeere aciem borum 
autoritatis. habemus enim hujufmodi JenatuJconfuitum , verum - 
tamen inclufum in tabulis, tanquam gladium in vagina recon¬ 
ditum : quo ex fenatufconfulto confeftim inttrfeilum te effe, Ca¬ 
tilina, convenit. Vivis. Id vivis non ad deponendam, fed ai 
confirmandam audaciam. Cupio, P. C., me effe clementem : 
cupio in tanti* reipub. periculis non dijfolutum videri ; fed jam 

A BCD EFGHI'j KLMNOP QfiSTVlVUXYZ 
Small Pica Italick. No x. 

At not vigefimum jam diem patimur hebefeere aciem horum au- 
toritatii. habemus enim hujufmodi fenatufeonfuitum, verumtamen 
inclufum in tabulis, tanquam gladium in vagina reconditum 
quo ex fenatufconfulto confeftim interfeflum te effe, Catilina, con- 
venit. Vivis: (d vivis non ad deponendam, fed acT confirman¬ 
dam audaciam. Cupio, P. C., mrejfe clementem: cupio in tantis 
reipub. periculis turn dijfolutum videri: fed jam meipfum inert ite 

A BCDEFGH1J KLMNOP ^RSTVUIVXYZ 

Long Primer Italick. No I. 

Verum ego boe. quod jampridem faflum ejfe oportuit, eerta de eaujfa 
nondum adducor ut faciam■ turn denique interfitiam te, eum jam nemo 
earn improbut, lam perditui, tarn tui ftmitii inveniri potent, q»i id 
non jure fadum ejfe fateatur. Qnamdiu quifquam erit qui te defen¬ 
dere audeat, viva: Id viva, ita ut nunc vivit, multi i meii td 
ft rmil frtrfidiit obfeffut, ne commovere te contra rempub. foffii. mu/fo¬ 
rum te etiam oculi Id aura non Jeutieutem, ficut adhuc fecerunt, fpe- 
tulabuntur, atque eufiodient. Etenim quid eft, Catilina, quod tarn 

FGHIJKL M N OP$_A S T V V SVXVZjE 


ABCDE 


abutere , Catilina , 
patientia no fra? 

Two Lines Great Primer. 

Quoufque tandem 
abutere, Catilina, 
patientia noftra ? 
quamdiu nos etiam 

Quoufque tandem a- 
butere , Catilina , pa¬ 
tientia noftraf quam¬ 
diu nos etiam furor 

Two Lines Englifti. 

Quoufque tandem abu¬ 
tere, Catilina, patientia 
noftra ? quamdiu nos e- 
tiam furor ifte tuus elu- 

Quoufque tandem abutere, 

Catilina,patientia noftra? 

quamdiu nos etiam furor ms esssse &&& 


Long Primer Italiek. No x. 

Verum ego hoc, quod jampridem fadum effe oportuit, 
nondum adducor ut faciam. turn denique interjiciam te, eum jam nemo 
tarn improbut, lam perditui, tarn txi jimi/it inveniri potent, qui td non 
jute fadum ejfe fateatur. Quamdiu quifquam erit qui te defendere 
audeat, vives: td vims, ita ut nunc vivit, multit meii td firm s 
Prxfidiis tbjiffus, ne commovere te eontra rempub. pojfis. multorum te 
etiam oculi td aures mom Jentsentem, ficut adbuc fecerunt, fpeculabuntur, 
atque cuftodtnt. Etenim quid eft, Catilina, quod jam amptius exfpedet. 
ABCDEFGHI J KLMNOP STVUWXfZ A 


Englilh Arabick. 

'—• i % * '»/>*» iilioiL; a ^ 2J 

i- u y, ♦ ^ ^ Uj * Jyi 

* 'i if yofiA j* ( LU 

t>* clap \ _;i ftAi 

Hebrew with Points. 

' TTfJC 1 n N d ’pyn ns o rfat snn nftsni 
d *rhs nrn otnn via) vih nnyr 

: iw-rrn -via vr D’hSn lONn : o;on n$rrp 
-twn i*a D’hSn hnan aTD*»3 fmrns d'rbs irn 
Nij? Hrripif -nxS orbs : -j^nn pai 

Hebrew without Poina. 

pNnt : ywn nsi cnynn ns orhs Nia rwira 
tyros nrn Dvin uD-tv i^m rai vin rvrn 
nrm "iin tt pn*?w : iron memo 
-iwn ra dtt^k ran avr»a -iwrrnN orbs m 
nV? mp iB TO D v Dto urbs tnpn : -^nn rai 

Hebrew. 


NovtmS. C. Manlium ludacix Cndlueoi ^miniflrum tu» t num me fcfellit, C> Mj j“ m -daem fatMi.m oiqu. admmfinm l.a f mm mififJtt, 

CauJini, non modorcs nno.um Mroi. om inocdibiUs, vemm, id ouod multu Tff’ T a'“.“S'* Um ‘ ,n *> " m >dqmodmu/i.mo.„ 

magia elt admirandum, diet Dili ejo .dem m fe/um. aedem u ojK.oumm cun- P UU ‘P Ammjmmu, <*drm tnfomatomtmndji , m j m 

lull He in ante diem . Kalend. Novcmb. mm cum multi principe. ciriutii Rum. f turn cum rn.lt, m, a ,pn uyH*„ Mam. mm ism j^, tmfir. 

non cam fill confcrvaodi, quam tuonm confUiorum mprimendorum cauda pmlu- w ”'' nmym — *Jfcisr,pirn, 

tenant- num in&iari potea, « Ulo aplb dm beta pr,6diia, mea diligeniia cixtum- " * m,,> ***£'• "** enumtufum, cmmmvcrr emtrs rfju. 

(iul'um, commovere u contra rempub. non potuilfej cum tu d.fce.fu oteroeum, "" J,JVjfJornm, fu, rrms./jfrmu,, cadeimtmtum 

maftn tamen. <ju. irnunf.lScmua, erde coountum te erte duzbu > Quad? cum w **, m $*r StT V ^rV^ua^hTn lia mOmm 

ABCOEFOHI JKLMNOPQRST VUWXVZiE A B C D B F G H l J K L M N Q p S^R 5 7 r U ST X r 2 A 


vm nwr/wm tpm hni own n« d>.*An n-» 3 r-vt^Nia 

etna de cauffa »O’OH »JD*7V nSTTO CD’H^N nrn DVlfl -pm run 

Dto*'3 -nicrnN O’nVn mn i-iur»n*i nw »n* o-h^n -wh'I 
7 i-nbiDP “iwb o-n^N K-ip*i ;-pnn jot nm pa own Vu-* 

Englilh Greek. 

n^ixof 0 tro^oq tu TU trvy^elfdudj, tu ntp tv H{«- 
Anfe (omf In k, irA tjs-oiq ivsitaovleu) vruq 

anoQcuvtlcu, uft iruq XtTuv, otret iyu pufumpucu' 
Spr\ ftat' HftcoOdot, itru U Ttaliun uq ’fery uyaZro, 
(e v el dot ijii mujmplnpe yslvipuyoi JfAwr, *Vi tw 


Pica Greek. 



Pica Saxon. 


Long Primer Saxon. __ 



TlfoSixoq i cdplt i» tw nylfmfuftatjt rZ rtf, n HmmAj«\ 
(Snip in >£ wXtlron lwMedleu) Sruq nip's rZt iptlnq eiro- 
<t>a.Mlas, 2Jt ns* Alb*, ^ tux iy » fAyrrqsxs- (fa's pi, 
HrokAi'*, i»ii ix nxltonftsq jCw (,\ J 0 's tie, I 

sMoxpnfK ysM/atm foitnf fin njohxpiVlf iX» rpi^xo 

Long Primer Greek. 

rjpA**. i Otpic S* TU ovtifaififodls rJ Vifs TU HfauXisc (otsj >i ^ 

vAiaTMC 'mstilmJUo) irm vt? ri( gpfc civofm'm 1m, Lis vuf lax 
•V P'P'V»*•* evn ut ik Xm Lffoiro, (U 

****** sisihsfdTof,( yfmqoa* JeA^u, Ln rti is mgs%( rpi**. 

Brevier Greek. 

nfft.rt- l osqie h ri ov/fr*0*3, ri «<; ri H(v,Xs'sk (tnqKi arXifuK I- 

«a iilulit.) Srm *tfl tv led-c dnf-uJ.i, Us »» c xiL,, u, lyt f.s-.yms, 
K” f* n aval 1 . a.; ,'C-» C^n, ( 1 . I al <u II. Kfra aTMe 

0nf|a|MtriiNb h»* n * •c r '* *• ct. t» fe., sh% to tu , 7,4. 

h nmmmmtttm 


Thu SPECIMEN to be placed in the Middle of the Sheet 5 U *, Vot. II. 


The broadside, of which the above is a reduced facsimile , is the earliest specimen of types issued by William Caslon I. 
Only one copy of this important specimen is known to be in existence. It is in the possession of the American Type 
Founders Company, and is exhibited in the Typographic Library and Museum in Jersey City. Until the year 1909 a 
broadside specimen with the Chiswell Street address (also in the same library) was supposed to be the earliest. 











Title and text page of eighteenth century chap book, showing the letter spacing and frequent uses made of small capitals and italics 
characteristic of the period. Modern adaptations of this style still serve effectively in booklet, circular and programme typography. 













4 

Men may be pure as alabaster and Pa- 


Nature doth have her dawn each day , 

rian marble, elegant as a Tuscan villa, sub- 


But mine are far between; 

lime as Niagara, and yet if there is no 


Content, l cry, forsooth to say, 

milk mingled with the wine at their en- 


Mine brightest are 1 ween. 

tertainments, better is the hospitality of 


For when my sun doth deign to rise 

Goths and Vandals. My Friend is not of 


Though it be her noontide, 

some other race or family of men, but 


Herfairest field in shadow lies, 

flesh of my flesh, bone of my bone. He 


Nor can my light abide. 

is my real brother. I see his nature grop- 




Sometimes I bask me in her day, 

ing yonder so like mine. We do not live 


Conversing with my mate, 

far apart. Have not the fates associated us 


But if we interchange one ray, 

in many ways? Is it of no significance 
that we have so long partaken of the same 


Forthwith her heats abate. 

loaf, drunk at the same fountain, breathed 


Through his discourse I climb and see. 

the same air, summer and winter, felt the 


As from some eastern hill, 

same heat and cold; that the same fruits 


A brighter morrow rise to me 

have been pleased to refresh us both, and 


Than lieth in her skill. 

we have never had a thought of different 


As 'twere two summer days in one, 

fiber the one from the other! 


Two Sundays come together, 

Our rays united make one sun. 

With fairest summer weather. 


A—An example of uniform spacing with three-em spaces B—The proper spacing with four-em spaces and leaded with 

and leaded with two-point leads two two-point leads 


As surely as the sunset in my latest No- 


As surely as the sunset in my latest 

vember shall translate me to the ethereal 


November shall translate me to the 

world, and remind me of the ruddy morn- 


ethereal world, and remind me of the 

ing of youth; as surely as the last strain 


ruddy morning of youth; as surely as 

of music which falls on my decaying ear 


the last strain of music which falls on 

shall make age to be forgotten, or, in 


my decaying ear shall make age to be 

short, the manifold influences of nature 


forgotten, or, in short, the manifold in- 

survive during the term of our natural 


fluences of nature survive during the 

life, so surely my Friend shall forever be 


term of our natural life, so surely my 

my Friend, and reflect a ray of God to 


Friend shall forever be my Friend, and 

me, and time shall foster and adorn and 


reflect a ray of God to me, and time 

consecrate our Friendship, no less than 


shall foster and adorn and consecrate 

the ruins of temples. As I love nature, 


our Friendship, no less than the ruins 

as I love singing birds, and gleaming 


of temples. As I love nature, as I 

stubble, and flowing rivers, and morning 


love singing birds, and gleaming stub- 

and evening, and summer and winter, I 


ble, and flowing rivers, and morning and 


C—An excellent standard of spacing in widely leaded matter D—The same matter as *'C” but too widely spaced producing 

the common fault of rivers in text matter 


Comparative displays in leading and spacing in which the example “A” shows many advantages over “C” and “D” 









In the final analysis there is hut one 
thing to do if you want to broaden your¬ 
self along these lines. Go to your printer, 
your engraver, your paper-maker, or job¬ 
ber, and admit your ignorance. Throw 
yourself upon his good graces. He will 
welcome the opportunity to inform you, 
for by so doing you will be able to work 
more intelligently with him and it will 
show in the results for both of you. 
Then, when you order a job of print¬ 
ing, you will speak as one having author¬ 
ity and not as an incompetent and ama¬ 
teur. The blunders you will avoid, the 
efficiency you will secure, the better 
work all along the line, will save thou¬ 
sands of dollars for your department in 
a year and increase your value to your 
concern. And, what is more, you will 
find the subject, in all its ramifications, 


E —Correct spacing in which several hyphens are necessary 


THE FEATURES OF A 
PRINTED BOOK 

SHOWING EXAMPLES 
OF THE TYPOGRAPHY OF MODERN 
BOOK-PAGES COMPOSED IN 
THE USUAL FORMS WITH 
SOM E TECHNICAL 
INFORMATION 

¥ 


THE SCHOOL OF PRINTING 
NORTH END UNION 
BOSTON 


G— An example of groupine display lines 


In the final analysis there is but one 
thing to do if you want to broaden 
yourself along these lines. Go to 
your printer, your engraver, your 
paper-maker, or jobber, and admit your 
ignorance. Throw yourself upon his 
good graces. He will welcome the 
opportunity to inform you, for by so 
doing you will be able to work more 
intelligently with him and it will show 
in the results for both of you. Then, 
when you order a job of printing, you 
will speak as one having authority and 
not as an incompetent and amateur. 
The blunders you will avoid, the 
efficiency you will secure, the better 
work all along the line, will save 
thousands of dollars for your department 
in a year and increase your value to your 
concern. And, what is more, you will 


F—Spaced to overcome the hyphens, but not as good composition 


THE FEATURES OF A 
PRINTED BOOK 

SHOWING EXAMPLES 
OF THE TYPOGRAPHY OF MODERN 
BOOK PAGES COMPOSED IN 
THE USUAL FORMS WITH 
SOME TECHNICAL 
INFORMATION 

1 


THE SCHOOL OF PRINTING 
NORTH END UNION 
BOSTON 


H —A less pleasing effect due to monotony in leading 


Comparative examples in spacing and leading 










OUR LEADERS 


ROM the beginning, two great instinctive forces 
have worked in man impelling him to expression. 
These are the demands of necessity leading to inven¬ 
tion, and the demands of his emotional nature to 
satisfy his longings. Some one has reminded us that 
"the art of infancy is the infancy of art.” 

In the crude, often grotesque art of the past we read 
man’s attempt to supply his simple needs and satisfy 
his primitive tastes, and we see a people in process of 
evolution as they applied nature’s forms and forces to 
their inventions and sought to beautify them in ac¬ 
cordance with the principles of order, unity, balance, 
rhythm, and harmony. When these people passed 
away, their art was all that remained, and in it we 
largely read the history of their civilization, a book of 
art that records, not alone their thoughts, but their 
deepest and best feelings as well. 

Art has ever been a medium for liberal education, 
for it has been the vehicle for its propagation and dis¬ 
semination. As our education opens the door to the 
world of art, the world that man has created, and we 
contemplate the mighty works of architecture, sculp¬ 
ture, painting, music, and literature, we are so im¬ 
pressed by characters and scenes, bearing in turn the 
mighty impress of the artists who created them, that 
we follow where they have led, hoping by so doing to 
reach the same heights. 

C. VALENTINE KIRBY 


Composed in 12 point Bodoni, the extreme in Modem Roman type design. From 1469 to 1785 Roman types were all 
of the design of which Caslon Oldstyle is representative. Then followed the era of Modem Roman, supplanting for a 
period all oldstyle Roman types. As a printer, Bodoni set off his types by “fields of white paper,” and ample margins 
are still the vogue for the use of Bodoni types. 























YOU ARE INVITED TO VISIT 
THE FINE AND INDUSTRIAL ARTS EXHIBIT 
IN THE SECOND GALLERY 
NEW BROADWAY STORE 



PAINTINGS BY AMERICAN AND EUROPEAN ARTISTS 
BRONZES, POTTERY, ANTIQUES, JEWELRY, FRAMES, 
LIGHTING FIXTURES, AND A WIDE FLANGE 
OF OTHER METALLIC GOODS 
NOW ON EXHIBITION 

APRIL, 1919 


BROWN FULLERTON COMPANY 

SAN FRANCISCO 


Composed in Della Robbia capitals, a modem type especially suited to formal display typography. 






This type may be used for 
children under seven. 

This type may be used for books 
to be read by children from seven 
to eight years old. 


This type is suitable in size for books to be 
read by children from eight to nine years 
old. The size of the letters is slightly larger 


This type is the smallest suitable in size for books 
intended for readers over nine years old. The 
size of the letters is equal to the minimum given 


This type is the smallest suitable in size for books 
intended for practised readers over twelve years old. 
The size of the letters is in conformity with the 
dimensions given in the typographical table. 


A series of type sizes adapted for varying ages of readers, as stated in the subject matter, 
and recommended for general use by an English educational conference. The type sizes, 
in the order shown, are 30, 18, 12, 11 and 9 point. 


PROOF MARKS 


MARGINAL MARK CORRESPONDING MARK IN PROOF 


He made his mar^k 
He majie his mark 
He nvede his mark 
L_ He made his mark 
He / his\ giadg / mark 
He made 4ws- mark 
He madejiis mark 
Therefore, be it Resolved 



A 


/L&nuM/ 

O 

d/ 

a >1 
v v 

-/ 

# 


Jle made his mark 
He mgde his mark 
He made his^Mark 
Hg made his mark 
He made ^ mark 
He made his mark 
He made his mark 
He made his mark^ 
He made Johns mark 
He made his A mark A 
This is a trademark 
He made hmnark 
He v madejiis v mark 
Hejmade his mark 
He”made his mark 


MEANING 

take out 
close up 
invert 

bring to mark 
transpose 
let stand 
query to author 
make paragraph 
indent em-quad 
wrong font letter 
lower case letter 
small capital 
capitals 
put in italic 
put in roman 
period 
apostrophe 
quotation marks 
hyphen 
space 

even spacing 
push down space 
broken letter 


T HE above marks are the ones most generally used in proofreading. 

There are many others that are required in different classes of work, 
but these are in the main self-explanatory. This display of proof marks 
and their meanings was prepared from standardized practice and endorsed 
by the Boston Proofreaders Association. 
























Warren's Standard Printing Papers 

Cameo Plate Coated Book Printone 

Cameo Plate Post Card Artogravure 

Cameo Cover Library Text 

Lustro Superfine Coated Book Olde Style (watermarked) 

Warrentown Coated Book Cumberland Super Book 

Cumberland Coated Book Cumberland Machine Book 

Silkote Dullo-Enamel Warren’s India 


THE WARREN SERVICE LIBRARY—VOL. II. 


P RINTERS and advertisers have in the Warren Sendee Library the material 
to lay out new work and to show how it will appear when finished. Speci¬ 
fications for the production of work similar to this volume, except for such 
variations as may be made in end leaves and cover papers, are as follows: 

48 pages Warren’s Library Text, 25x38—80 lb. 

Type, Caslon Oldstyle. 

Illustrations from lead-moulded, steel-faced electrotypes of 120-line halftone engravings. 

Ink, Morrill’s Library Text Black No. B703. 

Inside trimmed to 9f x 12d, Saddle sewed. 

The blank pages in this volume are perforated, and they can be used as the 
exact specification of stock required; as a sample of stock on which a quotation is 
made; for engraver’s proofs on the exact stock to be used; for making dummies 
any size up to 8^2 x 12 inches. 


STOCK SIZES AND WEIGHTS OF WARREN’S LIBRARY TEXT 


Size and weight 

Basis 

25x38 

Size and weight 

Basis 

25 x 38 

Size and weight 

Basis 

25 x 38 

Size and weight 

Basis 

25 x 38 

Size and weight 

Basis 

25x38 

25 x 38—50 

— 

28 X 42—74 

60 

28 x 44—90 

70 

30£x 41-105 

80 

33 x 46— 80 

50 

25 x 38—60 

— 

28 x 42—86 

70 

30ix 41—66 

50 

32 x 44— 74 

50 

33 x 46— 96 

60 

25 x 38—70 

— 

28 x 44—65 

50 

30ix 41—79 

60 

32 x 44— 89 

60 

38 x 50—100 

50 

25 x 38—80 

— 

28 x 44—78 

60 

30ix 41—92 

70 

32 x 44—104 

70 

38 x 50—120 

60 


DISTRIBUTORS OF WARREN’S STANDARD PRINTING PAPERS 


Atlanta, Ga. 
Baltimore, Md. 
Boston, Mass. . 
Buffalo, N. Y. 
Chicago, Ill. 
Cincinnati, Ohio 
Cleveland, Ohio 
Columbus, Ohio 
Dallas, Texas . 
Detroit, Mich. 

Grand Rapids, Mich. 
Hartford, Conn. 
Houston, Texas 
Jacksonville, Fla. 
Kansas City, Mo. 
Los Angeles, Cal. 
Louisville, Ky. 
Lynchburg, Va. 
Memphis, Tenn. 
Milwaukee, Wis. 


. . . Sloan Paper Co. 

. D. L. Ward Co. 
The A. Storrs & Bement Co. 
. . The Ailing & Cory Co. 

. . J. W. Butler Paper Co. 

The Diem & Wing Paper Co. 
. The Petrequin Paper Co. 
The Diem & Wing Paper Co. 
. Southwestern Paper Co. 

. Butler-Detroit Co. 
. Central Michigan Paper Co. 
. Henry Lindenmeyr & Sons 
. Southwestern Paper Co. 

. Antietam Paper Co., Inc. 

Missouri-Interstate Paper Co. 
. . . Sierra Paper Co. 

The Diem & Wing Paper Co. 
. Caskie-Dillard Co., Inc. 

. . . Tayloe Paper Co. 

. . Standard Paper Co. 


Minneapolis, Minn. 
Newark, N. J. 

New Haven, Conn. 

New York City 
New York City (Export) 
Omaha, Neb. . 
Philadelphia, Pa. 
Pittsburgh, Pa. 

Portland, Me. . 

Portland, Ore. . 
Richmond, Va. 

Rochester, N. Y. 

St. Louis, Mo. 

St. Paul, Minn. 

San Francisco, Cal. 
Seattle, Wash. . 
Springfield, Mass. 
Washington, D. C. 


The John Leslie Paper Co. 
Henry Lindenmeyr & Sons 
The A. Storrs & Bement Co. 
Henry Lindenmeyr & Sons 
National Paper & Type Co. 
Field-Hamilton-Smith Paper Co. 
. . D. L. Ward Co. 

. The Ailing & Cory Co. 
. C. M. Rice Paper Co. 
. Endicott Paper Co. 
. D. L. Ward Co. 
The Ailing & Cory Co. 
Mississippi Valley Paper Co. 
. . Nassau Paper Co. 

. Pacific Coast Paper Co. 
. . Mutual Paper Co. 

The Paper House of New England 


D. L. Ward Co. 
London, England Lindenmeyr & Johnson Paper Co., Ltd. 
Australia (Brisbane, Melbourne, Sydney) B. J. Ball, Ltd. 































































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WARREN S LIBRARY TEXT 25 X 38 — 80 LB. 


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